Hawzah News Agency - Belief in a savior is a common concept among both Abrahamic and non-Abrahamic religions. The overwhelming crises that have threatened human existence—challenges that humans could not overcome on their own—are the primary reason behind the emergence of the savior concept in religions. The strong link between the savior’s advent and core values such as establishing justice and fighting oppression has made followers of every faith eagerly anticipate the rise of their savior. Naturally, the degree of this longing is influenced by various factors. Among these, media is one of the most effective forces shaping this desire. Media are among the most influential tools in today's world; in addition to their direct impact on individuals, they can also influence the culture, norms, criteria, and indicators upon which the audience establishes its behavioral principles.
Since 1990, Hollywood has made a slow yet noticeable shift, steering the dominant atmosphere of its works toward savior-centric and apocalyptic themes.
Women as the Sole Survivors of Humanity on Earth
To depict the apocalypse, Hollywood moviemakers have utilized a wide variety of events and scenarios, constantly adding new stories to the list.
Disasters such as floods, earthquakes, extreme freezes, respiratory crises, solar radiation, artificial intelligence, nuclear bombs, financial collapse, alien invasions, and dozens of other scenarios have served as the catalysts for Earth’s destruction in Hollywood productions.
Yet, even stranger concepts have become the foundation for Hollywood’s apocalyptic storytelling. In the series The Last Man, every man on Earth—save for one—is wiped out by a mysterious disease, leaving women as the sole survivors facing the complex social and political fallout of a world without men.
While such movies and series are produced to entertain audiences, one must not overlook the underlying ideologies driving their creation.
Relying on Human Achievements: The Solution to Apocalyptic Disasters
Hollywood’s distinct focus on crafting diverse apocalyptic scenarios and portraying non-divine saviors is an undeniable reality visible amongst many of its productions.
The 2024 post-apocalyptic series Fallout portrays human life in the aftermath of Earth’s destruction by nuclear weapons.
In this series, not only is there a complete absence of religious and spiritual themes, but a specific scene explicitly states that the key to surviving apocalyptic events and living in an ideal utopia lies entirely in relying on human achievements rather than God.
The Western Cinema’s Humanistic View of the Savior
The 2013 movie Snowpiercer tells the story of Earth’s remaining survivors living aboard a continuously moving train following an apocalyptic disaster.
The defining feature of this train is its extreme class division, which sparks a rebellion by the lower-class passengers against the elite, led by a man named Curtis.
Despite having a dark past, Curtis is framed as a savior for the train’s lower class; however, his flawed decisions trigger a catastrophe that destroys the entire train, leaving only two survivors.
No divine savior appears in this movie. Instead, by placing their trust in a flawed human figure, the passengers bring about total destruction.
In fact, the movie presents a critique of messianism and believing in a savior—a perspective rooted entirely in Western cinema’s humanistic view of salvation. This stands in stark contrast to placing trust in a divinely appointed savior connected to divine revelation, which can bring about the best possible life for all humanity.
An American Family as the Savior of the World
The animated movie The Mitchells vs. The Machines follows the Mitchell family, who unexpectedly find themselves in the middle of a robot and AI uprising during a family road trip.
Using humor, the movie addresses the apocalyptic threats of technology and illustrates how over-reliance on artificial intelligence can lead to disaster. Yet amidst the chaos lies a clear message: “Family is the only true savior!”
The Mitchells—an ordinary American family traveling in an American Ford car—prove that despite their differences, family love and unity can triumph over even the most advanced apocalyptic threats, making them the saviors of the world.
While the animation effectively highlights the value of family solidarity, it strictly follows the standard Hollywood apocalyptic formula: there is no trace of a divine or heavenly savior, and salvation is accomplished entirely by ordinary, secular human beings.
Characteristics of Post-Apocalyptic Societies in Hollywood movies (Part 1)
In most of its depictions of the apocalypse and post-apocalyptic eras, Hollywood paints societies marked by negative traits and a bleak future.
Humanity’s regression to a violent, tribal way of life is a major hallmark of post-apocalyptic Hollywood movies.
In several works within this genre, the remaining survivors on Earth turn to tribal living, creating their own insular laws while actively cutting off ties with the outside world.
The series SEE is a clear example of post-apocalyptic tribalism in Hollywood, depicting human beings centuries beyond the 21st century clustered into rival tribes, locked in a continuous, brutal struggle against one another simply to survive.
Characteristics of Post-Apocalyptic Societies in Hollywood movies (Part 2)
Hollywood cinema consistently paints a bleak picture of the future in most of its apocalyptic and post-apocalyptic works.
Rigid class hierarchies and extreme inequality are defining features of post-apocalyptic Hollywood cinema, found across many works in the genre. For instance, the series Silo portrays a society forced to live underground due to the uninhabitable surface of the Earth.
Within these subterranean silos, a severe class divide exists: the upper levels, offering far better living conditions, house administrators and officials, while the lower levels are home to the working class, who are forced to perform grueling labor under harsh conditions. This theme is equally prominent in other post-apocalyptic productions such as Snowpiercer, where passengers are strictly segregated into different train cars based on their social class.
Characteristics of Post-Apocalyptic Societies in Hollywood movies (Part 3)
A life associated with perpetual anxiety and horrors in a post-apocalyptic world is a theme found in nearly every post-apocalyptic Hollywood movie. The lingering hazards left behind by apocalyptic catastrophes create an environment where survivors live constantly under the shadow of dread and uncertainty.
The movie Finch is a prime example, screening a man and his dog as they struggle to endure hostile post-apocalyptic threats while trying to overcome overwhelming fear and anxiety. This portrayal stands in sharp contrast to Islamic teachings, which depict a bright, golden era for humanity’s future following the advent of the savior—a time when all human societies under the rule of Imam Mahdi (may Allah hasten his rise) will experience complete safety, peace, and security across all aspects of life.
The Transition from Individual Messianism to Group Messianism
Western cinema’s secular worldview regarding the apocalypse has shifted the burden of confronting global crises entirely onto ordinary human beings—individuals who, on their own, are incapable of acting as the ultimate redeemer. Consequently, cinema has gradually developed a model of “collective salvation,” a framework that openly distinguishes itself from any concept of a divine savior.
For decades, messianic Hollywood cinema placed the salvation of the world on the shoulders of a lone hero—a solitary figure destined to stand against darkness, corruption, or global catastrophe (such as Neo in The Matrix). However, this trope has evolved in recent decades. Especially with the rise of the Marvel Cinematic Universe, apocalyptic threats are no longer portrayed as challenges a single savior can conquer alone. Instead, an ensemble of heroes with diverse powers and traits unites to save the Earth from destruction. In this new narrative, salvation is no longer the feat of an individual, but the outcome of collective teamwork.
When Hollywood is Tired of the Savior
Hollywood has always loved the “savior”—the hero who emerges from the darkness to rescue humanity and keep hope alive. Saviors have long served as the backbone of Western cinema; however, recent years have shown a subtle shift in storytelling, signaling the rise of a new perspective on the savior figure that is developing alongside the traditional trope.
Hollywood is no longer simply promoting the savior; it is now actively critiquing the savior!
Sometimes the savior fails,
Sometimes the savior turns into a greater threat than the enemy itself,
And sometimes there is no salvation at all, leaving the world to end in ruin!
In movies such as Don’t Look Up, Snowpiercer, and Dune, the underlying message becomes clear: “Saviors are not always the answer; sometimes, they are the problem itself.” This shift reflects a profound crisis of spirituality in the West. A society that harbors doubts about religion, government, science, and even its own heroes can no longer look at saviors through the same optimistic lens.
(Note: The critique above does not target the Islamic concept of the Savior, but rather reflects an absolute critique of secular messianism.)
And Finally: The Fragmentation of Modern Hollywood
Western cinema, which once promoted “earthly saviors” to compete with the concept of a divine savior, has now entered a phase of “complete de-savioring.” Eliminating human heroes in several contemporary works signals the death of “hope” and instills the dangerous belief that humanity stands utterly alone and defenseless against apocalyptic dread.
In fact, modern Hollywood lacks unity; it is caught in a clear duality. On one side stands the superhero machine, continuing to beat the drum of earthly messianism to satisfy the audience’s appetite for heroes; on the other side is a movement that strips away the savior entirely, depicting modern humanity as helpless, abandoned, and alone.
This discussion continues…
Produced by the Specialized Center for Mahdism Studies at the Qom Seminary (West and Mahdism Group) – with slight modifications.
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